Don’t talk to me of love. I’ve had an earful
And I get tearful when I’ve downed a drink or two.
I’m one of your talking wounded.
I’m a hostage. I’m maroonded.
But I’m in Paris with you.
Yes I’m angry at the way I’ve been bamboozled
And resentful at the mess I’ve been through.
I admit I’m on the rebound
And I don’t care where are we bound.
I’m in Paris with you.
Do you mind if we do not go to the Louvre
If we say sod off to sodding Notre Dame,
If we skip the Champs Elysées
And remain here in this sleazy
Old hotel room
Doing this and that
To what and whom
Learning who you are,
Learning what I am.
Don’t talk to me of love. Let’s talk of Paris,
The little bit of Paris in our view.
There’s that crack across the ceiling
And the hotel walls are peeling
And I’m in Paris with you.
Don’t talk to me of love. Let’s talk of Paris.
I’m in Paris with the slightest thing you do.
I’m in Paris with your eyes, your mouth,
I’m in Paris with… all points south.
Am I embarrassing you?
I’m in Paris with you.
Fenton’s poem ‘In Paris With You’ ultimately illustrates the very human methods we use to try to repair a broken heart – specifically ‘the rebound.’ In humanity’s incessant need to be needed and wanted, we can turn to superficial non-relationships that we believe to have no consequences, in order to ‘get over’ a previous love or relationship. In using colloquial language, as evident in the first stanza: ‘when I’ve downed a drink or two’ and consistently maintaining this informal tone throughout the poem, Fenton juxtaposes the elegance and serenity of Paris with very informal and crude language such as ‘sod’ and ‘sodding.’ The speaker also reflects the cynical outlook upon the traditional romantic connotations of Paris through literally suggesting that they and their liaison disregard the monumental landmarks of the ‘city of love’; claiming that they should ‘say sod off to the sodding Notre Dame / … skip the Champs Elysées / and remain here in this sleazy / old hotel room.’ The speaker covertly suggests that this relationship – being a self-professed ‘rebound’ – is purely focused upon sex, wanting to avoid the commitment and responsibility that comes hand in hand with long-term relationships.
The speaker claims that they are angry at the way [they’ve] been bamboozled / And resentful at the mess [they’ve] been through’, thus implying that they have experienced a negative and ‘messy’ break-up. Their lack of elaboration further intensifies their clear resentment and we are likely to assume that this ‘rebound’ is an attempt to remedy the speaker’s broken heart; they don’t want to talk about love any more, they’ve ‘had an earful’ already. Paris is in fact literal in the sense that the speaker has presumably taken a trip to Paris to escape the woes of their recent break-up; ‘I’m in Paris with you’, but he wishes to shut himself away from the city also. He wishes to disregard everything that Paris has to offer as a city and wants to remain in a hotel room, with only a ‘little bit of Paris in our view’; the speaker can see reality, but does not want to be in its midst.
The final stanza serves to ultimately confirm the speaker’s superficial motives with this partner who is in Paris with them. Fenton illustrates this through having the speaker concentrate upon the physical nature of their new partner, ‘I’m in Paris with your eyes, your mouth.’ The speaker has no interest in their ‘rebound’s’ personality, they are ultimately a tool to repairing the speaker’s loneliness and broken heart; which ostensibly seems rather antagonistic, but really gives the speaker a sense of humanity. Fenton reinforces the humanity of the speaker through their crudeness; ‘I’m in Paris with…all points south / am I embarrassing you?’; physical affection is all the speaker feels like they need, they need to feel wanted and heal the wound of a broken heart.